MINSTREL IN THE GALLERY

Despite continued critical indifference, Jethro Tull remained massively popular, especially in the US. Their next album, 1975's Minstrel in the Gallery, saw the band return to a sound reminiscent of Aqualung. Light, acoustic moments contrast sharply with electric bombast, and the songs show greater structural complexity. Dee Palmer's orchestration also continued to play a growing role in the band's sound.

The title track opens the album on a folky note. The first two minutes feature just Ian Anderson singing over acoustic guitar before Martin Barre's proto-metallic riffage sends the song in another direction. A main riff is established around the song's midway point, and the lyrics previously sung are revisited with renewed intensity. "Cold Wind to Valhalla" bears some resemblance to "Mother Goose" with its simple percussion and acoustic backbone. But Dee Palmer's strings add a new layer of depth. The song seamlessly transitions to a hard rocker, with Jeffrey Hammond's bass especially standing out.

"Black Satin Dancer" is a bit unfocused, but I enjoy its contrasts of piano-and-strings-backed balladry and searing, bluesy soloing. "Requiem" and "One White Duck/010 = Nothing at All" are simple, emotive acoustic pieces, featuring just Anderson's voice, acoustic guitar, and strings. Where "Requiem" is elegiac, "One White Duck"" is more playful.

The centerpiece of Minstrel in the Gallery, though, is the sprawling suite "Baker St. Muse". It's one of Jethro Tull's best songs, playing up all their strengths. It covers ground ranging from simple folk to twisting, heavy riffs, and Ian Anderson's vocal melodies are some of the strongest he ever wrote. The metallic and folk/classical elements complement each other beautifully, adding to the music's ultimate impact.

Review originally posted here: theeliteextremophile.com/2019/07/25/deep-dive-jethro-tull/